生态现象学与生态艺术的维护:Agnes Denes的《澳大利亚的森林》

C. Chevalier
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引用次数: 0

摘要

Agnes Denes(生于1931年)是一位出生于匈牙利的纽约多学科艺术家,自20世纪60年代以来,她创作了大量的艺术和写作作品。Denes的实践超越了媒介和学科,数十年来一直在研究数学、物理学、语言学、哲学和人类学等众多学科。在她的职业生涯中,Denes参与了一系列的媒介,包括雕塑、绘画、建筑平面图、全息图、田野和森林。在她的作品中,这位艺术家描绘了由新物理定律重新构想的未来世界,调查了进化生物学的时间线,并直观地解释了时空连续体。她的艺术实践表现在各种形式上,包括但不限于金属水墨画、大型绘画、巨大的金字塔雕塑和磁悬浮物体。这些探索往往以敏锐的环境意识为基础。这可以追溯到20世纪60年代末,当时Denes开创了一种名为“生态逻辑”的早期环保主义,她将其定义为一种结合哲学概念和生态问题的艺术创作方法。Denes在《水稻/树木/埋葬》(1968–79)中首次参与了生态逻辑,这是一项临时工作,包括种植稻田、用链条连接树木和埋葬时间胶囊。她接着创作了三部更重要的公共生态作品:《麦田——对峙》(1982),一片在曼哈顿市中心临时种植的闪闪发光的麦田;树山——一个活的时间胶囊(1992-96),一个由11000棵树组成的永久性螺旋森林,种植在芬兰的伊尔奥吉奥维;以及《澳大利亚森林》(1998年),这是一个由6000棵树组成的圆形系列,种植在澳大利亚墨尔本郊外。当通过21世纪受气候危机影响的生态艺术视角来审视艺术家的作品时,似乎没有其他系列比这四件已实现的公共作品更紧迫、更具预言性、更未经充分审查。通过他们的创作,Denes发展了一种独特的生态艺术形式,将无数学科结合在一起,目的是建立一种改善和可持续的关系
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Eco-phenomenology and the Maintenance of Eco Art: Agnes Denes’s A Forest for Australia
Agnes Denes (b. 1931) is a Hungarian-born, New York–based multidisciplinary artist who has created an extensive body of art and writing since the 1960s. Denes’s practice transcends mediums and disciplines, informed by decades spent researching mathematics, physics, linguistics, philosophy, and anthropology, among numerous other subjects. Over the course of her career, Denes has engaged a range of mediums, including sculpture, drawing, architectural plans, holograms, fields, and forests. In her work, the artist sketches future worlds reimagined by new laws of physics, surveys timelines of evolutionary biology, and visually interprets the space-time continuum. Her artistic practice manifests in forms that include, but are certainly not limited to, metallic-ink graphs, largescale drawings, colossal pyramidal sculptures, and magnetic levitating masses. These explorations are often underpinned by astute environmental awareness. This can be traced back to the late 1960s, when Denes pioneered an early form of environmentalism called ‘eco-logic’, which she defines as an approach to artmaking that combines philosophical concepts and ecological concerns. Denes first engaged eco-logic in Rice/Tree/Burial (1968–79), a temporary work that included planting a field of rice, chaining trees, and burying a time capsule. She went on to create three more significant public ecological works: Wheatfield—A Confrontation (1982), a shimmering field of wheat temporarily planted in downtown Manhattan; Tree Mountain—A Living Time Capsule (1992–96), a permanent, spiralling forest of 11,000 trees planted in Yl€ oj€arvi, Finland; and A Forest for Australia (1998), a circular series of 6000 trees planted outside Melbourne, Australia. When surveying the artist’s body of work through a twenty-first-century lens of eco art informed by climate crisis, no other series seems more urgent, prophetic, and underexamined than these four realised public works. Through their creation, Denes developed a unique form of eco art that combines myriad disciplines with the goal of forging an improved and sustainable relationship
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